Billy Lynn's Long Halftime Walk

The moment the audience saw the first shot of Billy Lynn reaching for his phone, the audience gasped. Ang Lee's ambitious choice of filming at a frame rate of 120fps in a 4K and 3D format is beyond words. We become immersed into Billy Lynn's world, seeing the little details that we normally would not see in a film (imagine what Emmanuel Lubezki did in 'The Revenant' and times it by 5). The person I went with to see the film described it best, it was a very sensual experience not just from the cinematography, but also the interesting soundscape and phenomenal editing. There are small moments when what would be a mundane action becomes a trigger for Billy Lynn and his squad. Lee does not hold back in making the audience feel the PTSD of those soldiers which at times is beautiful done as well as a bit too much for those of us who have never experienced it. Now I could go on about how brilliant the film is technically and it's sure to get some Oscar recognition in that aspect, but all films revolve around a story.

What could have been an amazing film merely becomes an OK film because of the story's weakness. I read an article where the critic trashed Ang Lee, but to be honest it's not Lee who's to blame but whoever wrote the script. The script is so dull and because of that the audience never got the full immersion we were hoping to get. The only person we connect to by the end of the film is Kristen Stewart's character, yet that isn't even delved into. The relationships between the characters aren't developed very much except for one relationship that is developed WAY too fast and in the most unrealistic way possible. You can get a sense of a strong bond between Lynn and his squad, but just barely.

As for the acting, Kristen Stewart was definitely the standout. Joe Alwyn did a great job, too, but not the memorable debut performance I was hoping to see. Vin Diesel and Steve Martin are truly miscast (this may just be me being picky, but every time they came on screen I felt very uncomfortable).

To sum this up, I'm giving this movie a 7 out of 10 because of the technical brilliance and the experience of watching a film in this frame rate, though be warned that the story is very weak. Some people are going to find the 120fps very strange, but for the cinephiles who have an open mind, you'll be blown away.

Many people said it is an anti-war movie,I don't think so. This movie is far more than anti-war.Because it is not a rich story ,but a rich truth and an emotion. It doesn't want to give you an opinion about what war is, but show you an emotion about a young man and a war. A so-called hero came back from Iraq, how is his life?

In the real world, the truth and emotion are complicated. So it is hard to say what its theme is. Maybe the theme is to doubt our fake society Maybe the theme is to show the hero's confused life. However, they are parts of this movie. It is more like a section of Billy's life. He has family,battle companion, stranger and girlfriends. Sometimes he is distracted at his important moment,sometims all in front of him remind him of war. He sees and thinks.He might find that life is difficult to choose,finally he go back to the place where he belongs.

If you can feel you are Billy Lynn, you can feel how ridiculous this society is.Nobody understands you,people see what they want to see.the sad thing is, you can change nothing but follow the direction of fate.

If you don't have sensory substitution,this movie is boring.

From the beginning of Billy's halftime show， I can't help crying. I even can't detail the reasons of my tears. The emotion is so strong, so complicate and so advanced. I feel so sad about Billy's life.

I think it is a good movie, not very fun, but revolutionary.

The subject of Ang Lee's "Billy Lynn's Long Halftime Walk" isn't the war in Iraq but in how America reacts to its heroes and its soldiers and it's a theme that can be traced back through two World Wars. Indeed for almost as long as movies have existed the cinema has concerned itself with the relationship between the military and the world at large, how it performs and how it is perceived. The most famous example of this is probably the raising of the flag at Iwo Jima and the subsequent 'tour' back home immortalised in such films as "The Outsider" with Tony Curtis as Ira Hayes and Clint Eastwood's "Flags of Our Fathers" and Oliver Stone's Vietnam film "Born on the Fourth of July" so it was only a matter of time before someone would do something similiar with one of the current wars.

Moving back and forth in time between the events in Iraq and the tour to celebrate the 'heroes' Lee's film is a complex and surprisingly satirical picture that doesn't go down the obvious route of 'what really happened and how the media constructs events' and, being an Ang Lee film, is very skillfully made. As Billy Lynn, the soldier chosen to be the poster boy for the military, newcomer Joe Alwyn is excellent and it's a film that ultimately confounds our expectations. The chest-thumping of "Born on the Fourth of July" is conspicuously absent and if the film seems to lack a big dramatic pay-off it's still a moving depiction of ordinary people caught up in extraordinary events.

Ben Johnson's novel has been exceptionally well adapted for the screen by Jean- Christophe Castelli and directed with the expected sensitivity of Ang Lee. It is a kick in the gut for those who see it – an anti-war statement placed in front of us as the never- ending wars in the Middle East continue to fester and destroy lives on all sides of the war zone and beyond. But it is also a biting statement about the time in which we live, a time when entertainment and gross spending of money is directed toward the insatiable appetite for big shows and stars and shallow moments of pleasure that appear to obsess us. The manner in which returning soldiers face 'instant glory' is overshadowed by the inherent bully-ism by a public that does not understand the cancer of war and how it metastasizes throughout our troubled planet.

The film is told from the point of view of 19-year-old private Billy Lynn (Joe Alwyn) who, along with his fellow soldiers in Bravo Squad (Garrett Hedlund, Arturo Castro, Mason Lee, Astro, Beau Knapp, Ismael Cruz Cordova, Barney Harris and Vin Diesel) becomes a hero after a harrowing Iraq battle and is brought home temporarily for a victory tour. Through flashbacks, culminating at the spectacular halftime show of the Thanksgiving Day football game in Dallas, Texas, the film reveals what really happened to the squad - contrasting the realities of the war with America's perceptions. Billy's family's response to his Silver Star heroism is conflicted with Billy's damaged sister Kathryn (Kristen Stewart) who pleads with Billy not to return for another tour in Iraq. Billy finds a possible entry to fame through a film about Bravo by Albert (Chris Tucker), thwarted by the wealthy insensitive would-be backer Norm (Steve Martin), an introduction to love by one of the Dallas cheerleaders Faison (Makenzie Leigh), and in the end, though disenchanted with America's reaction to what soldiers suffer in war zones, Billy makes the 'long halftime walk' back to his beloved buddies of Bravo as they prepare to return to duty.

The film seems all glitter on the surface until the inserted flashbacks of the realities of war in Iraq – a factor that makes the film even more poignant as an anti-war statement. This is a strong film that will move sensitive viewers – hopefully to action.

Greetings again from the darkness. "Thank you for your service." For those of us who have never served in the military, we say the words because we don't know how else to show our appreciation. Do the words ring hollow to those in uniform? Maybe. Probably. But how else can we honor these brave souls? What if we have them share a stage with a pop singing group during halftime of a football game? It's this line between honor and propaganda that takes up much of the new movie from two-time Oscar winning director Ang Lee (Life of Pi, Brokeback Mountain).

The story is based on Ben Fountain's 2012 novel, and revolves around soldier Billy Lynn's and his fellow "Bravo" squad members as they make the rounds back home (in 2004) for publicity after their intense battle sequence is caught on camera. There is much at play here: how the soldiers interact with each other, how they are treated by the general public, how they are used by the team's owner and the Army for self-serving reasons, and how Billy juggles the stress of war, the spotlight of heroism, and the demands from his family.

Director Lee opted to experiment with the ultra-realism of the new 120 frames per second in 4k 3D, rather than the standard 24 fps. Though this may seem like a minor detail that shouldn't be addressed in a review of the movie, it's impossible to ignore this impact. Technical advancements in film and digital have resulted in some exciting new effects for movies, but this high speed approach creates a soap opera look and feel that will likely be disorienting to many viewers. Although the full effect will only be available in New York and Los Angeles (due to shortage of projectors), the clarity on the close-ups is distracting, while leaving the background quite fuzzy and out of focus. Many will find this new look to be "not right" for a movie, and prefer the traditional look. Others may embrace the heightened sense of reality … of being right there with the characters. Of course, this is Ang Lee's film, so there is no shortage of stunning visuals and expert shots.

Beyond the technical aspects, this movie is simply a bit clunky to watch, not very well written (screenplay by Jean-Christophe Castelli), not very well acted, and has an overall awkward and unfinished feel to it. Kristen Stewart plays Billy's sister, and her limited screen time is the best part of the movie. Newcomer Joe Alwyn makes a decent reluctant (and lucky) hero in playing Billy, but he doesn't have the chops to overcome the script weakness and the burden of carrying so many scenes. This is especially obvious in his unrealistic bonding scenes with cheerleader Faison (played by Makenzie Leigh). Their scenes together are nearly unwatchable.

Supporting work comes from Vin Diesel as Billy's philosophical officer in recurring flashbacks to the war, Garret Hedlund as the current squad leader, a miscast Steve Martin as team owner Norm Oglesby (a Jerry Jones type), and Chris Tucker as the incessantly yammering agent/producer trying to put a movie deal together for the soldiers. Other minor contributors include Tim Blake Nelson, Bruce McKinnon (in horrible make-up), Ismael Cruz Cordova, Deidre Lovejoy, and a couple of All-Pro players in Richard Sherman and JJ Watt.

Since there are some interesting and important elements to the story, the assumption here is that most effort went towards the experimental technical aspects. More attention to scene detail could have more effectively contrasted the soldier's take on war versus the never-ending inclination of Americans to turn most anything into more and bigger entertainment … even Destiny's Child isn't enough. The questionable filmmaking decisions leave us with the shell of a good story, and too many sappy close-ups of actors emoting directly to the camera lens. The soldier vs hero debate deserves better, and the propaganda aspect deserves a more critical eye.